The information shared on this page is no longer being updated. For more information about Imagine Austin and its ongoing update, please visit speakupaustin.org/ImagineAustin View the results of the indicators related to the Grow and Invest in Austin's Creative Economy Priority Program of Imagine Austin.

Median earnings of creative sector occupations tells us how much Austin's artists, musicians, and related creative sector workers are earning per hour. It shows us whether our city's artists and creative sector workers can afford to live and work in Austin. Data was gathered directly from the Creative Vitality Suite (cvsuite.org), a subscription-based online research-based, economic development tool that provides creative economy data and reporting. Data extracted from CVSuite software's data analysis from the following sources: Economic Modeling Specialists International (EMSI), National Assembly of State Arts Agencies, National Center for Charitable Statistics.

The rate of businesses (both for-profit and non-profit) that are in the creative economy per 1,000 residents. The creative economy is defined as industries that use and support artistic and cultural skillsets to attract and generate capital, knowledge, and information. Arts-based businesses are included in the creative economy. In addition to the industries included in the rate of arts-based businesses indictor, the following industries are identified by their primary NAICS code: Textiles (313220); Commercial Printing (323111, 323113); Book Printers and Publishers (323117, 511130); Print Media (451212, 511110, 511120, 511199, 519110); Motion Picture & Video Production (512110); Music Publishers (512230); Sound Recording (512240); Radio (515112); Architecture (541310, 541320); Interior Design (541410); Graphic Design (541430); Advertising (541810, 541890); and Photography (541921, 541922). In addition to the industries included in the rate of arts-based businesses indictor, the following industries are identified by their primary SIC code: Print Media (271101, 271102, 271198, 272101, 272102, 272104, 273101, 273198, 596302, 599401); Publishers (273298, 274104, 274105, 874205); Printers (275202, 275202, 275902, 275998); Bookbinders (278902); Radio (483201); Television (483301, 484101, 792205, 824911); Textiles (513122, 594904); Advertising (519917, 731101, 731115, 731305, 731999); Fashion Designers (569901, 594408); Photography (722101, 722113, 722120, 733501, 738401); Graphic Design (733603); Commercial Artists (733604); Website Design (737311); General Media (738301); Interior Design (738902); Restoration (764112); Landscape Design (781030); Motion Picture and Video Support (781205, 781211, 781901); Architecture (871202, 871207, 871209, 874892); and Business Writers (899902). Source: InfoUSA Years Available: 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021, 2022, 2023

The number of persons employed in the creative economy (both for-profit and non-profit). This number does not count those persons who identify themselves as being artists and does not count sole proprietorships or persons who work part-time in the arts. The same industries used to calculate the rate businesses in the creative economy are used to calculate total employment in the creative economy. Source: InfoUSA Years Available: 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021, 2022, 2023

This data was used to create the Economic Development Department's 2016 Creative Economy Snapshot Report available at http://www.austintexas.gov/page/creative-development. Data was compiled by the CreativeVitality Suite from a variety of sources including Occupations & Demographic: Economic Modeling Specialists International, Industry Sales: Economic Modeling Specialists International, State Arts Agency Grants: National Assembly of State Arts Agencies (Final Descriptive Reports), Nonprofit Revenues: National Center for Charitable Statistics, NCCS. This product has been produced by the Economic development Department of the City of Austin for the sole purpose of informational reference. No warranty is made by the City of Austin regarding specific accuracy or completeness.

Between 2022 and 2023, about ** percent of Russians worked as information and communication technology (ICT) specialists, which was the highest figure among presented creative professions. Arts and culture specialists had the second-largest share of approximately ** percent.

Financial overview and grant giving statistics of Center for Creative Economy

This annual series of publications provides statistics on key economic estimates for the Creative Industries in Northern Ireland Source agency: Culture, Arts and Leisure (Northern Ireland) Designation: Experimental Official Statistics Language: English Alternative title: Creative Industries bulletin

ABSTRACT The article presents an analysis of the Creative Economy in Brazil, showing its development potential for the generation of income and employment, in order to the country's development resumption. They are initially presented concepts and features of the Creative Economy for, in sequence, to analyze the economic development profile and potential of this industry in Brazil. The empirical part introduces some methodological aspects, in continuing with the analysis of the creative chain contribution to the generation of Value Added and employment in the country, and a vision of their foreign trade.potential. Finally, the challenges to the implementation of public policies are investigated.

In 2023, *********** Russians were employed in the creative economy. The number of employees went up by ******* from the previous year.

The rate of businesses (both for-profit and non-profit) that are in the creative economy per 1,000 residents. The creative economy is defined as industries that use and support artistic and cultural skillsets to attract and generate capital, knowledge, and information. Arts-based businesses are included in the creative economy. In addition to the industries included in the rate of arts-based businesses indicator, the following industries are identified by their primary NAICS code: Textiles (313220); Commercial Printing (323111, 323113); Book Printers and Publishers (323117, 511130); Print Media (451212, 511110, 511120, 511199, 519110); Motion Picture & Video Production (512110); Music Publishers (512230); Sound Recording (512240); Radio (515112); Architecture (541310, 541320); Interior Design (541410); Graphic Design (541430); Advertising (541810, 541890); and Photography (541921, 541922). In addition to the industries included in the rate of arts-based businesses indicator, the following industries are identified by their primary SIC code: Print Media (271101, 271102, 271198, 272101, 272102, 272104, 273101, 273198, 596302, 599401); Publishers (273298, 274104, 274105, 874205); Printers (275202, 275202, 275902, 275998); Bookbinders (278902); Radio (483201); Television (483301, 484101, 792205, 824911); Textiles (513122, 594904); Advertising (519917, 731101, 731115, 731305, 731999); Fashion Designers (569901, 594408); Photography (722101, 722113, 722120, 733501, 738401); Graphic Design (733603); Commercial Artists (733604); Website Design (737311); General Media (738301); Interior Design (738902); Restoration (764112); Landscape Design (781030); Motion Picture and Video Support (781205, 781211, 781901); Architecture (871202, 871207, 871209, 874892); and Business Writers (899902). Source: InfoUSA Years Available: 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021, 2022, 2023

Statistics on Gross Value Added (GVA), Employment and Exports within the creative industries. Source agency: Culture, Media and Sport Designation: Official Statistics not designated as National Statistics Language: English Alternative title: Creative Industries Economic Estimates

Abstract In a knowledge-based economy, initiatives based on the Creative Economy framework are supposed to promote regional economic diversification in developing countries. In Brazil, policy initiatives have focused on those activities with a view to design public policies oriented to reducing socio-economic and regional inequalities, as well as spreading those activities throughout the territory, especially towards less favored regions. Based on the Brazilian experience, this article discusses whether the pre-existing regional distribution of various types of creative activities favors or hinders the reduction of regional inequalities as a result of a policy focused on promoting creative activities and what actions could be adopted to achieve this result. Specifically, the paper discusses whether this expansion can promote an effective reduction of regional inequalities in terms of the number and quality of jobs and wage levels associated with those activities. The analysis suggests that the regional decentralization of creative activities towards less developed regions has been relatively limited in Brazil, as the more developed regions have remained more specialized in trades with higher digital and technological content, while the less developed regions have remained relatively more specialized in activities related to the cultural heritage. To reduce this imbalance, the support of local institutions and S&T infrastructure related to creative activities appears to be very important, which points out to the relevance of comprehensive policies well-adapted to very diverse local realities. This effort should have the impact of new digital-based technologies converge with the strengthening of economic potential of local and regional cultural heritage, by enhancing professional qualification of workers devoted to those activities.

Explanation of the ways in which the Economic Development Department amplified creative industries in 2022

Census employment and income data for persons working in creative industries and creative occupations.

This dataset consists of 14 individual datasets that underpin the interactive dashboards on the project's Data Tables webpage.

Project background:

Australian cultural and creative activity: A population and hotspot analysis is an Australian Research Council Linkage project (LP160101724) being undertaken by QUT and the University of Newcastle, in partnership with Arts Queensland, Create NSW, Creative Victoria, Arts South Australia and the Western Australian Department of Local Government, Sport and Cultural Industries.

This comprehensive project aims to grasp the contemporary dynamics of cultural and creative activity in Australia. It brings together population-level and comparative quantitative and qualitative analyses of local cultural and creative activity. The project will paint a complete national picture, while also exploring the factors that are producing local and regional creative hotspots.

Creative hotspots for study were selected in consultation with state research partners:

Queensland – Cairns, Sunshine Coast + Noosa, Gold Coast, Central West Queensland
New South Wales – Coffs Harbour, Marrickville, Wollongong, Albury
Victoria – Geelong + Surf Coast, Ballarat, Bendigo, Wodonga
Western Australia – Geraldton, Fremantle, Busselton, Albany + Denmark
South Australia – to be confirmed shortly

Statistical summaries drawn from a diverse range of data sources including the Australian Census, the Australian Business Register, IP Australia registration data, infrastructure availability lists and creative grants and rights payments as well as our fieldwork, inform hotspot reports.